Non-Punch Work

Apart from his work on Punch, Linley Sambourne undertook
commissions, a lot of this was undertaken early on in his career and as his
financial position became secure, he appears to have done very
little work apart from Punch cartoons.

The first book he illustrated was ‘A New History of Sandford and
Merton’ which was written by his friend, F C Burnand, in 1872. Two
years later he illustrated ‘Our Autumn Holiday on French Rivers’ by
James Molloy. The book, an entertaining account of a holiday
undertaken by Sambourne and Molloy. Then followed in quick
succession books about a holiday in the Scottish Highlands and
another in Venice. Though Sambourne is probably best
known for his illustrations for ‘The Water Babies’ by Charles
Kingsley (see right). This book was published in 1885 and many
commentators feel these drawings represent Sambourne’s best work,
having charmingly capture the spirit of the book, In 1887 Hans
Andersen’s fairy tales appeared with Sambourne’s illustrations, but
this appears to be the end of his career in book illustration,
which he clearly found a great strain as he was almost incapable of
working without a deadline and some of these books took years for
him to produce illustrations for.

Sambourne undertook various other commissions for other
magazines, certificates, diplomas, advertisements and so on. His
work appeared in the Pall Mall Magazine, for which he drew the
cover for the first issue in May 1883, in 'The British Workman'
(left), he designed the invitation for the Lord Mayor’s
Banquet, a certificate for subscribing to the Gladstone
memorial fund, but his most noteworthy work in this category must
be the Diploma for the Fisheries Exhibition in 1883. This diploma
seems to epitomise his style. Sir John Tenniel said of it ‘It is of
absolutely inexhaustible ingenuity and firmness. His diploma for
the Fisheries Exhibition almost gave me a headache to look at – so
full, cram-full, of suggestion, yet leaving nothing to the
imagination, so perfectly and completely drawn, and with a
certainty of touch which baffles me to understand how he does it.’

Tenniel is not the only one
of Sambourne’s contemporaries to praise his work highly. G F Watts
is reputed to have said that he would willingly sacrifice his
ability in painting to possess Sambourne’s power in line drawing.
‘That wonderful hand of his, like Giotto’s can draw a perfect
circle with his pen - and is there another man in England, in
Europe indeed who can do it?’

George du Maurier, another colleague on Punch,
once remarked that Sammy, as he was know to the Punch staff, was
with Charles Keene, the one draughtsman who could draw hats. ‘Keene
draws top-hats by natural genius: Sambourne by a scientific
knowledge of geometry. The rest are nowhere.’ Another contemporary
comment was ‘He draws like nobody else – nobody else drew like
him.'

He did, however, have is detractors, at least
those who did not think highly of his drawings. On his death one
commentator said it was a mistake to speak of his lofty sense of
style, he was only interested in the structure of things, he was an
engineer’s draughtman and although his figures were anatomically
correct they lacked life and movement. Another said that he always
treated his subjects on a cold and decorative basis. The Manchester
Guardian was very critical, saying that his drawing had charm and
ability but no thrill or sting, and no political feeling –
that whilst Tenniel’s pencil was a weapon, Sambourne’s was a
pencil; that he was a weak in portraiture and lifeless, that his
drawings lacked warmth and spirit.

Sambourne’s work seems to have been exhibited
frequently at the Royal Academy and he had several one-man shows in
private galleries. However, he was never a member of the Royal
Academy, because black and white illustrators were not admitted.
His work was well-know in Frane and in the USA, and said to have
been more appreciated there than in England. In 1896, 340
lots of his work were sold for £535.15 – it is rather difficult to
know how that rates his work as it is not even clear what a
lot compromised.